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ENG 6392 9111 23343 Mowchun 1 ENG 6392. Film and Video Production—"Theory and Practice of Film Adaptation" Spring 2020 Instructor: Dr. Trevor Mowchun Class: Wednesday, Period 6 - 8 (12:50 PM - 3:50 PM); Seminar Room (TUR 4112) Screening: Monday, Period 9 - 11 (4:05 PM - 7:05 PM); Room: ROL 115; Projectionist: Elizabeth Hernandez *Due to availability of projectionists, some screenings will start at 4:15pm Office hours (TUR 4336): Tuesday 3:15pm – 4:15pm, Thursday 4:30pm – 5:30pm, or by appointment. Email: [email protected] (please allow at least 24 hours for a response) Office phone number: 352-294-2839 Media Assistant: Jack Edmondson (TUR 4303) Availability: 10:40 AM - 1:40 PM, Tuesday: N/A, Wednesday: 5:10 PM - 7:05 PM, Thursday: 11:45 AM - 1:40 PM, Friday: 10:40 AM - 12:50 PM * Students can also reach Jack by email: [email protected], call or text at: 954-695-3720 "Theory and Practice of Film Adaptation" In this hybrid seminar workshop, students will have the opportunity to adapt a literary work of fiction, non-fiction or poetry into a filmable screenplay, one or two of which will be made into a short/medium length film by the end of the semester. To prepare for such a venture, we will address various issues at work in the field of film adaptation from writers such as André Bazin, Linda Hutcheon and Thomas Leitch, in addition to some practical dimensions from Linda Segar’s manual. We will also consider the cinema’s own natural predisposition towards adaptation, debate the value of remaining faithful to the original literary text versus betraying it, updating it, or exploiting its power to spur the imagination in unexpected ways, and ultimately as practitioners to experiment with the process by which “the spirit” of a literary work can be adapted and perhaps rendered complete by cinematic embodiment. Each week will feature a case study that tracks the transformative journey of a film adaptation from literary source to script (in some cases) to screen, involving works which capture the spirit of the original, perform the original in cinematic terms, or altogether uproot the original for its own imaginative ends (thus creating a new point of origin). Adaptation methods of particular interest for us will be literal vs. experimental adaptation, modernization, piecemeal adaptation, and multiple source adaptation. Examples of short films based on novellas, short stories and poems will be emphasized as more practical production models for the course. For the workshop, students will select a literary work, ideally a short story, prose piece or poem (novellas may also be suggested) not yet made into a film, and devise ways of adapting its “spirit,” using the source material as raw material to be molded into something new, whether this process involves preserving or altering the ostensible narrative. As a class we will then select 1-2 of these scripts (possibly more) to develop into a short film to be created in groups, exposing students to the various aspects and phases of filmmaking. These short “spirit adaptations” may turn out to bear little or no 2 resemblance whatsoever to the original—in any case, the aim is to surpass the original in some way and rethink it for the present time. Books Theory and Practice: * Read at your own pace • Linda Hutcheon with Siobhan O'Flynn, A Theory of Adaptation (London and New York: Routledge, 2013). *library ebook • Linda Segar, The Art of Adaptation: Turning Fact and Fiction into Film (New York: Henry Holt, 1992). * Some additional scholarly essays on adaptation Source Material for Adaptations (available for purchase at bookstore): * Read prior to the Monday screening of the adaptations * Other editions may be used; illustrated editions have been selected to enhance the study of adaptation • Dante Alighieri, Inferno • Maurice Blanchot, Thomas the Obscure • Lewis Carroll, Alice’s Adventures in Wonderland • Anton Chekhov, Ward No. 6 • Joseph Conrad, Heart of Darkness • Sheridan Le Fanu, In a Glass Darkly • Knut Hamsun, Pan • Heraclitus, Fragments • Franz Kafka, Metamorphosis and Other Stories • Daphne de Maurier, “Don’t Look Now” and “The Birds” in Don’t Look Now and Other Stories • Edgar Allen Poe, Stories and Poems • Arthur Schnitzler, “Dream Story” in Night Games • Leo Tolstoy, “The Forged Coupon” in The Death of Ivan Ilyich and Other Stories • Robert Walser, “The Walk” in Selected Stories Suggested Inspirational Micro-fiction: • New Sudden Fiction: Short-short Stories from America and Beyond, edited by Robert Shapard and James Thomas (New York: W.W. Norton, 2007). *library reserve • Lydia Davis, Can't and Won't (New York: Farrar, Straus and Giroux, 2014). *library reserve Short Stories, Poetry, Essays, Book Chapters: • Additional short stories, poetry and screenplays not listed above are digitized on Canvas or placed on reserve through Library West as hard copies or ebooks. 3 * The Monday afternoon screening will often feature dense combinations of full-length and short films. Such work is always best experienced in a dark theater, in a devoted time slot, and with your fellow peers. Many of these films may be difficult to track down online. Therefore, attendance at the screening is vital to the success and pleasure of the course. SCHEDULE * Adaptations are listed in the following manner: “Source” > “Film”. Screenplays, when available, are listed after the primary literary and film texts. * It is highly recommended to read the literary sources prior to watching the films. * Films and screening order are subject to change. Week 1 (Jan. 6 + 8). An Everyday Wonderland: Lewis Carroll and Jan Svankmajer • Short poem: Jabberwocky (Carroll, 1871) > Short film: Jabberwocky (Svankmajer, 1971) • Novel: Alice’s Adventures in Wonderland (Carroll, 1865) > Feature film: Alice (Svankmajer, 1988) Week 2 (Jan. 13 + 15). A Quiet Canon: Shorts Based on Shorts • Short story: “An Occurrence at Owl Creek Bridge” (Ambrose Bierce, 1890) > An Occurrence at Owl Creek Bridge (Robert Enrico, 1962) • Short story: “The Lottery” (Shirley Jackson, 1948) > Short film: The Lottery (Larry Yust, 1969) *See Shirley Jackson's "The Lottery": The Authorized Graphic Adaptation, by Miles Hyman • Short story: “A Day in the Country” (Guy de Maupassant, 1881) > Short film: A Day in the Country (Jean Renoir, 1936) • Short story: “The Overcoat” (Gogol, 1842) > Short film: The Bespoke Overcoat (Jack Clayton, 1956) *Based on the play of the same name by Wolf Mankowitz (1953) • Short film: La Jetée (Chris Marker, 1962) > Short film: The Life of a Dog (John Harden, 2005) *Watch La Jetée on your own Week 3 (Jan. 20 + 22). Nikolai Gogol, Anton Chekhov, and Fyodor Dostoevsky * No screening on Monday Jan. 20: Martin Luther King, Jr. Day—Watch the films on your own. • Short story: “The Dream of a Ridiculous Man” (Dostoevsky, 1877) > Short animation: The Dream of a Ridiculous Man (Aleksandr Petrov, 1992) • Short story: “The Nose” (Gogol, 1836) > Short animation: The Nose (Alexandre Alexieff and Claire Parker, 1963) • Novella: Ward No. 6 (Chekhov, 1892) > Feature film: Ward No. 6 (Aleksandr Gornovskiy and Karen Shakhnazarov, 2009) Week 4 (Jan. 27 + 29). Edgar Allan Poe and Films on Painting 4 • Short poem: “The Raven” (Poe, 1845) > Short film: The Raven (Thiel and Saphire, 2011) > Excerpt from The Simpsons: Treehouse of Horror, Season 2, Episode 3 (Wes Archer, Rich Moore, David Silverman, 1990) • Short story: “The Tell-Tale Heart” (Poe, 1843) > Short film: The Tell-Tale Heart (J.B. Williams, 1953) • Short story: “The Pit and the Pendulum” (Poe, 1842) > Short film: The Pendulum, the Pit and Hope (Jan Svankmajer, 1983) *Also based on “A Torture by Hope,” by Auguste Villiers de l'Isle-Adam (1891) • Short story: “The Fall of the House of Usher” (Poe, 1839) > Short feature: The Fall of the House of Usher (Jean Epstein, 1928) > Short film: The Fall of the House of Usher (Svankmajer, 1980) • On painting: Guernica (Resnais, 1950), Night Gallery (first segment of pilot episode, Boris Sagal, 1969) *time permitting Week 5 (Feb. 3 + 5). Franz Kafka and Samuel Beckett • Short story: “A Country Doctor” (Kafka, 1918) > Short animation: A Country Doctor (Kōji Yamamura, 2007) • Short story: “The Metamorphosis” (Kafka, 1915) > Short film: Metamorfosis (Fran Estévez, 2004) • Biography/diaries (see “A dream,” in Frank Kafka Diaries 1910-1923, p. 209-10) > Short animation: Franz Kafka (Piotr Dumala, 1992) • Short story: “Jackals and Arabs” (Kafka, 1917) > Short film: Jackals and Arabs (Straub- Hulliet, 2012) • Short story: “The Burrow” (Kafka, 1931) > Short animation: The Burrow (Forrest Rice, 2019) • Parable: “Before the Law” (Kafka, 1915) > Excerpt from The Trial (Orson Welles, 1962) • Monologue: Not I (Beckett, 1972) > Filmed performance: Not I (BBC, with Billie Whitelaw, 1975) • Voiceover monologue: Eh Joe (Beckett, 1965) > Short film: Eh Joe (BBC, with Jack MacGowran, 1966) • Short abstract plays: Quad 1 and Quad 2 (Beckett, 1981) > Short films: Quadrant I + II (Beckett, German, 1981) • Short mime: Act Without Words II (Beckett, 1956) > Short film: The Goad (Paul Joyce, 1965) Week 6 (Feb. 10 + 12). From Short Story to Feature Film: Casting Daphne du Maurier • Short story: “The Birds” (du Maurier, 1952) > Feature film: The Birds (Hitchcock, 1963) *Excerpt: First Act • Short story: “Don’t Look Now” (du Maurier, 1971) > Feature film: Don’t Look Now (Nicolas Roeg, 1973) 5 Week 7 (Feb. 17 + 19). Modernization and the Novella: Arthur Schnitzler and Joseph Conrad • Novella: Dream Story (Schnitzler, 1926) > Feature film: Eyes Wide Shut (Kubrick, 1999) *Excerpt—Bill and Alice’s dreams *Script available in Eyes Wide Shut: A Screenplay (Stanley Kubrick and Frederick Raphael) • Novella: Heart of Darkness (Conrad, 1902) > Feature film: Windigo (Robert Morin, 1994) Week 8 (Feb. 24 + 26). Piecemeal Adaptations: Leo Tolstoy and Jack Kerouac • Play: Beat Generation (Kerouac, 1957) *Third Act of the text > Short film: Pull My Daisey (Robert Frank and Alfred Leslie, 1959) • Novella: The Forged Coupon (Tolstoy, 1911) *Part 1 of the text > Feature film: L’argent (Robert Bresson, 1983) **Also read: “Le Journal d’un cure de campagne and the Stylistics of Robert Bresson” in What is Cinema? (André Bazin) *Spring Break: February 29 – March 7 Week 9 (Mar.
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